Nearly two decades have passed since the strategic border security paradigm known as “prevention through deterrence” (PTD) took root in the landscape of Southern Arizona. The aim of PTD was to deter illicit migration by strategically amassing border security forces to funnel migrants into increasingly remote and treacherous territory where they would face increased risk. Indeed, risk was to be the prime factor of deterrence. Thousands of undocumented migrants died attempting to overcome those risks in an outcome known as the “funnel effect,” wherein migration patterns shifted to overcome bypass and overcome border security. When speaking about PTD taking root in southern Arizona, I mean that this geography is the locus of the funnel effect and has been since 2001. Southern Arizona represents the longest stretch of border walling in the United States and the highest concentrations of border security personnel and undocumented migration activity since the early 2000s. In this sense, this region is a useful point of focus for evaluating the outcomes and efficacy of the border security apparatus. Here, the PTD strategy has been physically tethered to the landscape as border security infrastructure has literally been dug into the ground. With the hundreds of border security infrastructure and wall projects have also come the hundreds of clandestine trails routed around them used by undocumented migrants, and hundreds of tons of left behind migrant survival materials like backpacks, water bottles, blankets, and rosaries. Over the years while border security has expanded, the evidence associated with migration has shifted in turn reflecting a dialectical engagement between the formal border security apparatus and the informal politics of migrants. While many scholars have studied either border security or the risks faced by migrants, few have looked at their mutual influence over time. This dissertation incorporated a multidisciplinary methodological approach, including ethnography, archival research, archaeology, and GIS technology. These methods allowed me to answer the following questions: What are the social and material effects of border enforcement policy on the ground? How have these changed over the 15 years of concentrated border enforcement in this area, both geographically and in terms of their volume and constitution? What are the stories, the experiences, and the tangible points on the landscape that mark these processes? I viewed the material signature of migration as a form of ruins both literally and metaphorically as they mark the scars of abandonment, loss, and failure. Following Walter Benjamin, I conceived of such ruins as an indictment of the political conditions that led to their formation. In the spirit of Benjamin, I also prioritized this form of marginalized material evidence. Questions of memory and materiality were also entwined with realities of absence and a search for fragmentary traces. I encountered this reality constantly in fieldwork, as when a place known to have been a major clandestine travel corridor for migration was often found completely cleared of all evidence of use. I also routinely walked past coordinates where migrant bodies were recovered, and where no evidence of that tragedy was left. A dialectical approach also highlighted how much more accessible and visible the actions related to the implementation of the United States border security were in relation to those of migrants. Further, the material evidence associated with migration was actively being removed, often as an environmental hazard. Thus, this project also came to encompass questions about the process of historical creation and heritage. Among those who live and work in the borderlands, this contemporary situation was already largely conceptualized in terms of its heritage potential. Will we remember this episode in history as we remember the Berlin Wall, or Japanese internment camps in the United States, as many of the border residents who participated in my project speculated? Certain public land managers along the border anticipated that their heritage future may well be as lands associated with the migration experience, circa the turn of the 21st century. It is acknowledged that this is a dark chapter of history. But, how does one curate history in the making? All of this inextricably links to issues of power. This is the power to decide what is culturally valuable or relevant, as well as the power to define historical narratives as they are made. Border security itself is about maintaining U.S. sovereignty, while defining the value of migrant lives and deaths as the border is secured. This is also a set of values that prioritizes border security over reform to the system that could facilitate labor migration. There is also a hierarchy to what survives between the monumental architecture of border security and the ephemeral tools and structures of clandestine migration. The latter are hidden and actively decaying while the former will stand the test of time. This dissertation analyzes the informal and the fragmentary side by side with the formal and monumental. What do decaying survival materials dropped by undocumented migrants, decaying migrant bodies in the wilderness, and hundreds of miles of clandestine smuggler trails in one of the most highly secured borderlands in one of the most powerful countries in the world say about power here? On a practical level, the accumulated evidence are read as an indictment of border security, revealing that the building of walls and surveillance structures have not stopped migration, though they have led to increasingly imperiled migrant journeys.

Les concepts de dystopie et de postmodernisme ont pris une dimension nouvelle depuis une vingtaine d’années environ.Ces concepts, qui ont fait l’objet d’études multiples tant sur le plan littéraire qu’historique, pour ne citer que ces deuxdomaines-là, ont révélé d’autres perspectives qui, de notre point de vue, n’ont pas encore été abordées. Il s’agit parexemple du rapport entre la dystopie et les ruines. A travers cette thèse, nous avons étudié les concepts de dystopie et deruines tel qu’ils apparaissent dans trois oeuvres (Riddley Walker, (1980) de Russel Hoban, Cloud Atlas, (2004) de DavidMitchell et The Book of Dave (2006) de Will Self) à la lumière des évènements contemporains et en rapport avec lepostmodernisme. Ce corpus a permis de souligner des liens entre dystopie et postmodernisme grâce à la valeuresthétique, éthique, poétique et politique des ruines dont l’ubiquité nous a fait considérer les oeuvres dystopiquescomme un portrait du monde où nous vivons. Cette thèse a par ailleurs permis de souligner le comportementautodestructeur de l’homme, en rapport avec la notion de progrès qui est constamment remise sur le métier, devenantplus une illusion qu’une réalité au moyen de scènes de violence dont les principales illustrations restent les deux conflitsmondiaux avec la Shoah et les bombes atomiques larguées sur Hiroshima et Nagasaki ainsi que l’utilisation des armeschimiques. En plus d’être un trait d’union entre dystopie et postmodernisme, les ruines s’érigent en témoin du passésinistre de l’homme vers lequel elles guident les contemplateurs tout en leur rappelant la vanité de leur vie etl’évanescence de toute existence. L’ubiquité des ruines ne cesse de plonger survivants et contemplateurs dans unemélancolie à laquelle s’ajoute le trauma lié à la perte et la menace de répétition du passé. Les ruines deviennent alorsune forme d’expression, un langage pour les dystopies postmodernes et, à travers elles, les disparus prennent la parole.Les traces de ce qui a été sont ainsi devenues des médias par lesquels le silence des ruines devient la parole de ceux quine sont plus, révélant de manière continue la présence du passé. / The concepts of dystopia and postmodernism have taken a new dimension for the past two decades. These conceptshave been explored in multiple studies from both literary and historical viewpoints, to name but these two areas thathave revealed other perspectives, which, to our knowledge, have not yet been addressed. This is the case, for example,of the relationship between dystopia and ruins. The present work explores the concepts of dystopia and ruins as theyappear in the three books (Riddley Walker (1980) by Russell Hoban, Cloud Atlas (2004) by David Mitchell and TheBook of Dave (2006) by Will Self) in the light of contemporary events and in connection with postmodernism. Thiscorpus was used to discover the links between dystopia and postmodernism through the aesthetic, ethical, poetic andpolitical values of ruins, the ubiquity of which brought us to consider the dystopian works as a depiction of the world inwhich we live. The present study has also helped highlight the destructive behavior of Man in relation to the notion ofprogress that is constantly questioned, thus becoming more of an illusion than a reality because of scenes of violencemainly illustrated by the two World Wars with the Shoah and the atomic bombs dropped on Hiroshima and Nagasaki,as well as the use of chemical weapons, commonly called mass destruction weapons. Besides being a bridge betweendystopia and postmodernism, ruins stand as witnesses of Man’s sinister past toward which they direct contemplatorswhile reminding them of the vanity of their lives and the evanescence of any existence. The ubiquity of the ruinsrelentlessly plunges survivors and contemplators into a melancholy supplemented by the trauma associated to thefeeling of loss and the threat of a repetition of the past. The ruin thus becomes a form of expression, a language forpostmodern dystopias and through it, the departed speak. The traces of what has been have thus become media through

This work has for objective to analyze the life riograndese in ends of century XIX and principles of century XX, emphasizing the frontier character of the dried meat s industry and its entailing to the platino space, especially Uruguai. The Charqueada Santa Thereza, established in the city of Bagé in 1897, it is the object of study of this work. Such establishment has as proprietor Ribeiro de Magalhães. The dried meat s industry ones of this period are endowed with a series of characteristics that differentiate them of gauchos slaveries dried meat s industry the slaveries, between these, we can cite: wage-earning man power, work in series, use of machine in the process of manufacture of dried meat, diversified production (other products beyond dried meat) etc. These characteristics become such similar establishments the platinos dried meat s industry, that since early already have these elements and competed as the market gaucho in the commerce of dried meat. The contact with the platino space was given through commercial and cultural, legal and illicit the exchanges, between the brazilian and uruguayan proprietors, which could have been analyzed during the development of the research. The used sources had been: old ruin, letters and periodicals photos the urban complex built in around of the industry. The work intends a new to look at on the subject, since it privileges the entailings of these establishments with the Prata and uses sources diversified for the historical research. / Este trabalho tem por objetivo analisar a vida saladeril riograndese em fins do século XIX e princípios do século XX, enfatizando o caráter fronteiriço dessas charqueadas e sua vinculação ao espaço platino, especialmente o Uruguai. A Charqueada Santa Thereza, fundada no município de Bagé em 1897, é o objeto de estudo deste trabalho. Tal estabelecimento possuía como proprietário o visconde português Ribeiro de Magalhães. As charqueadas deste período são dotadas de uma série de características que as diferencia das charqueadas escravistas gaúchas, entre estas, podemos citar: mão-de-obra assalariada, trabalho em série, utilização de maquinário no processo de fabricação do charque, produção diversificada (outros produtos além do charque) etc. Essas características tornam tais estabelecimentos semelhantes aos saladeiros platinos, que desde cedo já possuíam esses elementos e competiam como o mercado gaúcho no comércio do charque. O contato com o espaço platino dava-se através das trocas comerciais e culturais, legais e ilícitas, entre os proprietários brasileiros e uruguaios, as quais puderam ser analisados durante o desenvolvimento da pesquisa. As fontes utilizadas foram: jornais de época, cartas do Visconde ao Governador Borges de Medeiros, fotos antigas da charqueada e as ruínas do complexo urbano e industrial edificado no entorno da mesma. O trabalho pretende um novo olhar sobre o tema, já que privilegia as vinculações destes estabelecimentos com o Prata e utiliza fontes diversificadas para a pesquisa histórica.

Au début des années 1990, avec le décret de la « Période Spéciale », Cuba connaît une crise sans précédent qui remet en question, pour la première fois de son histoire, les fondements mêmes de la Révolution. La littérature cubaine, marquée matériellement par ce contexte, se fait l’écho des bouleversements survenus dans l’Ile. Ce dialogue qui s’instaure entre fiction et réalités sociales est au cœur de notre réflexion. A travers l’étude des nouvelles publiées depuis le début de cette période, nous avons essayé de saisir l’esprit d’une époque. Nous retraçons ainsi le destin littéraire de La Havane, en ces temps troublés, depuis les représentations de la destruction de la ville jusqu’aux images de sa dispersion. Ceux qui ont choisi d’écrire La Havane en crise s’exposent au chaos et au néant. La décadence physique et morale de la capitale et de ses habitants s’impose comme un thème artistique majeur. Face à une réalité en pleine décomposition, les écrivains cubains deviennent les artisans d’une possible restauration de la ville. Ils invoquent l’écriture pour sauver une Havane qui est entrée dans une phase accélérée de destruction. Métaphore d’une société et d’une nation en crise, la ville, détruite sur le plan matériel, se reconstruit, peu à peu, sur le plan littéraire. / At the beginning of the 1990’s, with the “Special Period” decree, Cuba knows an unsurpassed crisis which questions, for the first time in its history, the foundations of the Revolution. The Cuban literature, marked materially by this context, echoes the turnovers that arose on the Island. This dialogue, established between fiction and social realities, is at the heart of our reflection. Throughout the study of the short stories published since the beginning of this period, we have attempted to seize the spirit of this era. In thus doing, we recount the literary destiny of Havana, in these flustered times, from the representations of the destruction of the city until the images of its dispersal. The authors who chose to write Havana in crisis run the risk of chaos and nonexistence. The physical and moral decline of the capital and of its people stands out as a major artistic subject. Facing a reality in full decomposition, the Cuban writers have become the artisans of the city’s possible restoration. They call upon writing to save Havana which has entered a hastened destructive stage. Metaphor of a society and of a nation in crisis, the city, destroyed on a material level, rises again, little by little, on a literary level.

Bâtiments partiellement détruits mais dont les vestiges n’ont pas disparu, les ruines étaient une réalité présente dans les villes du monde romain. Ce travail de recherche se propose d’étudier la manière dont les populations de l’empire, les autorités municipales ou le pouvoir romain percevaient et géraient les édifices vétustes aussi bien que les amas de décombres résultant des destructions. On s’intéressera au quotidien des villes confrontées au délabrement du bâti ainsi qu’aux dévastations exceptionnelles entraînées par des catastrophes, de l’époque augustéenne jusqu’à la fin du IVe siècle. À travers un examen approfondi des sources littéraires et de la documentation juridique et épigraphique, l’objectif est d’analyser les pratiques liées aux ruines, les normes qui les encadraient et les représentations qui permettent de les comprendre. On montrera que les ruines n’ont pas leur place dans la cité : les démolitions doivent toujours être évitées tandis que les bâtiments dégradés doivent être restaurés. L’esthétique des ruines mais aussi leur valorisation comme objet de mémoire sont absentes des textes littéraires et documentaires latins. Au contraire, les bâtiments délabrés et les villes détruites sont associés à la laideur et à la mort et donnent l’image d’un temps de troubles. Les ruines forment alors un contre-modèle, qui permet de révéler, par contraste, l’idéal d’une architecture qui participe à l’ornementation de la cité et contribue à l’âge d’or garanti par l’empereur. / : Partially destroyed buildings, the remains of which persist in time, ruins were part of the reality of Ancient Rome. This research aims at investigating the way the populations of the Empire, the local magistrates or the Roman central power perceived and managed dilapidated buildings as well as the piles of debris resulting from destructions. This study will focus on the everyday life of cities faced with the dilapidation of buildings as well as with exceptional devastations caused by catastrophes, from the Augustinian age to the end of the fourth century A.D. Through a thorough study of literary, legal and epigraphic sources, the purpose is to analyze how ruins were dealt with, taking into account the rules and norms which applied to them, as well as the mental representations which enabled their understanding. We shall demonstrate that ruins have no place in the city. Demolitions should always be avoided, and dilapidated building should be restored. Any aesthetic aspect of the ruins, or their use as places of memory, are absent from Latin texts. On the contrary, dilapidated buildings and destroyed cities are associated with death and unsightliness and reflect a troubled era. Ruins constitute a counter-model which enables the revelation, by contrast, of an ideal architecture which contributes to the ornamentation of the city and to the elaboration of the Golden Age announced by the Emperor.

A partir des années 1740, sous l’action de plusieurs phénomènes comme les découvertes archéologiques, les grands travaux de Louis XV ou encore la crise des Académies, le monde de l’architecture entre dans une période de profondes mutations. Les questions d’architecture, désormais au cœur des enjeux culturels, nourrissent aussi en profondeur l’imaginaire littéraire. Nous explorons les différentes formes et figures de cet imaginaire, avec le souci d’envisager le fait architectural dans toutes ses dimensions. Comme discipline, l’architecture connaît une crise sans précédent. Le savoir architectural quitte les cercles académiques pour se diffuser largement dans la presse. Celle-ci accueille des débats nourris sur les embellissements de la capitale dont s’inspire presque directement la littérature utopique. Mais l’architecture engage aussi une pratique, un geste de construction, dont la littérature exploite la valeur symbolique. Le motif du bâti joue ainsi un rôle essentiel dans la représentation imaginaire des nouveaux rapports de l’homme à la nature – pont, ruine ou cabane figurent tantôt une lutte de l’homme dans la nature, tantôt leur fusion harmonieuse – et à la société : le geste de construire son logement engage désormais les valeurs fondamentales de l’individu moderne. Enfin, comme espace – espace pratiqué, habité – l’architecture s’impose désormais comme une composante décisive de l’imaginaire romanesque. De Rousseau à Sade, les architectures intérieures du roman, qu’elles soient vertueuses ou libertines, ne se réduisent plus à de simples décors : elles sont indissociables des projets du personnage ou des fantasmes du lecteur. / Starting in the 1740's, influenced by various factors such as archaeological discoveries, the "grands travaux" of Louis XV, and the "Academies crisis", the world of architecture entered a period of deep transformation. Questions of architecture, then at the heart of cultural debate, also nourished the literary imagination. This work explores the forms and figures of this imagination, as it relates to architecture in all of its dimensions. As a field, architecture wasexperiencing an unprecedented crisis. Architectural knowledge was shifting from academia to the general press. The press hosted substantial debates on the embellishments of the capital, Paris, which inspired utopian literature. But there was also a practical dimension to architecture, the act of construction, and literature exploited the symbolic value of this. This element also played an essential role in the imaginary representation of the new relationships between man and nature - bridges, ruins,or huts represented man's struggle againstnature or their harmonious fusion - and man and society: building one's home brought out the core values of the modern individual. Finally, as a space, worked on and lived in, architecture asserted itself as a critical component of literary imagination. From Rousseau to Sade, the internal architectures of the novel, virtuous or libertine, became more than just simple decor - they were inseparable from the character's actions or the reader's fantasies.

Depuis la fin de la guerre civile libanaise en 1991, le cinéma libanais décline le mal existentiel et le sentiment de mélancolie d’une génération dont les personnages étrangers au monde comme à eux mêmes, sans repères, font face à la répétition des violences, la séparation, le deuil, ou l’exil, trainent leur mal-être dans une ville en éternel chantier et où les morts tels des fantômes réapparaissent d’entre les ruines. Entre un monde qui s’effondre et un passé qui s’efface, la mélancolie habite ces films dont les récits fragmentés et éclatés ne s’achèvent jamais. Avec Ghassan Salhab, Michel Kammoun, Joanna Hadjithomas, Khalil Joreige, Mohammad Soueid, Danielle Arbid, Christophe Karabache, Waël Noureddine, Nigol Bezgian, Borhane Alaouié, Jocelyne Saab... un nouveau cinéma s’invente. / As the Lebanese civil war ended in 1991, a feeling of malaise and melancholy started to imprint the works of filmmakers. Between a collapsing world and a fading past, the films’ characters seem to drift aimlessly as they face constant violence, separation, mourning and exile. Their malaise lingers in a city crammed by massive construction sites where the dead, like ghosts, emerge from the ruins. While melancholy roots itself in the films, fragmented and never ending stories interlace.With Ghassan Salhab, Michel Kammoun, Joanna Hadjithomas, Khalil Joreige, Mohammad Soueid, Danielle Arbid, Christophe Karabache, Waël Noureddine, Nigol Bezgian, Borhane Alaouié, Jocelyne Saab... a new cinema is born.

„Hic sunt leones“ is a printed publication that represents the outcome of diploma thesis Map of Brno. It is a pocket-size map in a form of a book describing the dark side of Brno, fitting contextually within the scope of urban exploration. Locations described within the publication are far beyond the general interest of the majority, and even the alternative minority, of population within the city. These are locations whose visit may result not just in dirty pants or possible conflict with the police, but also in injuries or even death. The inaccessibility of these places is emphasized by the inaccessibility of the map itself, which is being tested at it's very edge of usability. Accurate cartographic mapping is not the intention of this project, neither it is the process of making these places easily accessible. Mediation of their unique atmosphere and providing the evidence of their mere existence is the primary intention here. More so because of the fact that such places are subjects to very fast perdition.

The project proposes the production of devices to enhance the value or experience of a place as well as to allow research and education in history, collective memory and contemporary times of the city that we live in. Looking at the city through a specific type of architecture, concept or material, and hopefully giving an honest perspective of the space we inhabit. For this project the topic was contemporary ruins and their structural and visual values. Cataloging the timber barn, exploring it in an industrial hall and then exhibiting them on the concrete dolphins in the river, all buildings or structures created purely for convenience but have since lost all or some of this convenience, therefore becoming contemporary ruins. In the end creating structures with the purpose of learning, exhibiting them for others to learn as well; and in the end finding a place and purpose for the structure. Turning the building from a research project into a folly and then into a device for experience. Producing with the goal of learning, placing with the goal of enhancing, without designing specifically for the end product but rather for the process itself.

No description available.